Voice, piano - Level 2-3 SKU: HF.FH-2995 Lieder zur Weihnachtszeit zum...(+)
Voice, piano - Level 2-3
SKU: HF.FH-2995
Lieder zur
Weihnachtszeit zum Singen
und Spielen auf dem
Klavier. Edited by
Gerhard Wohlgemuth. Sheet
music. Friedrich
Hofmeister Musikverlag
#FH 2995. Published by
Friedrich Hofmeister
Musikverlag (HF.FH-2995).
ISBN 9790203429951. 9
x 12 inches.
1.
Leise rieselt der Schnee
(Ed. Ebel); 2. Ach,
bittrer Winter (17.
Jhd.); 3. Nikolauslied
(Rheinland); 4. Morgen,
Kinder, wird's was geben
(Berliner Volksweise,
1800); 5. Ihr Kinderlein,
kommet (J.A.P. Schulz,
1747-1800); 6. Alle Jahre
wieder (F. Silcher,
1789-1860); 7. Vom Himmel
hoch da komm' ich her (M.
Luther); 8. Frohlich soll
mein Herze springen (J.
Cruger, 1598-1662); 9.
Uns ist geboren
(Altflamisch); 10. Es ist
ein Ros entsprungen
(Speiersches Gesangsbuch,
1599); 11. O du frohliche
(sizilianische
Volksweise); 12. Nun
singet und seid froh
(Klug's Gesangbuch,
1535); 13. Vom Himmel
hoch ihr Englein (Kolner
Gesangbuch, 1632); 14.
Kommet, iht Hirten
(Volksweise); 15. Auf,
auf, ihr Hirten
(Niederosterreich); 16.
Spielt auf (Volksweise);
17. Lieb' Nachtigall,
wach auf (1670); 18.
Kindlein mein
(Volkslied); 19. Kindlein
zart (Volksweise); 20.
Joseph, lieber Joseph
mein (nach Handschrift
1305 der
Universitats-Bibliothek
Leipzig); 21. Still,
still, weil's Kindlein
schlafen will (Volkslied
aus Salzburg, 1819); 22.
O Tannebaum (Alte
Volksweise); 23. O
Tannebaum (Volkslied aus
Westfalen); 24. Ach
Tannenbaum (M. Franck,
1573-1639); 25. Am
Weihnachtsbaum die
Lichter brennen
(Volksweise); 26.
Frohliche Weihnacht
uberall (aus dem
Englischen); 27. Stille
Nacht (F. Gruber,
1787-1863).
Coronation Mass -
Urtext. Composed by
Wolfgang Amadeus Mozart.
Stapled. Chor-Bibliothek
(Choral Library).
This
edition is based on
Mozart's own autograph
copy which was evacuated
from the Preussische
Staatsbibliothek to the
Biblioteka Jagiellonska
during World War II; it
became available once
again for musicological
research in the
1980s.'
Mass;
Classical. Choral score.
20 pages. Duration 30'.
Breitkopf and Haertel
#ChB 5252-02. Published
by Breitkopf and Haertel
(BR.CHB-5252-02).
ISBN
9790004411681. 7.5 x 10.5
inches.
This
edition is based on
Mozart's own autograph
copy which was evacuated
from the Preussische
Staatsbibliothek to the
Biblioteka Jagiellonska
during World War II; it
became available once
again for musicological
research in the
1980s.'
This
edition is based on
Mozart's own autograph
copy which was evacuated
from the Preussische
Staatsbibliothek to the
Biblioteka Jagiellonska
during World War II.
Coronation Mass -
Urtext. Composed by
Wolfgang Amadeus Mozart.
Edited by Franz Beyer.
Stapled.
Orchester-Bibliothek
(Orchestral Library).
This edition is based
on Mozart's own autograph
copy which was evacuated
from the Preussische
Staatsbibliothek to the
Biblioteka Jagiellonska
during World War II; it
became available once
again for musicological
research in the
1980s.'
Mass;
Classical. Part. 16
pages. Duration 30'.
Breitkopf and Haertel #OB
5209-16. Published by
Breitkopf and Haertel
(BR.OB-5209-16).
ISBN
9790004330715. 10 x 12.5
inches.
This
edition is based on
Mozart's own autograph
copy which was evacuated
from the Preussische
Staatsbibliothek to the
Biblioteka Jagiellonska
during World War II; it
became available once
again for musicological
research in the
1980s.'.
Chorus a cappella SKU: BR.CHB-3145-02 Urtext. Composed by Giovanni...(+)
Chorus a cappella
SKU:
BR.CHB-3145-02
Urtext. Composed
by Giovanni Pierl da
Palestrina. Edited by
Rudolf Ewerhart. Choir;
stapled. Chor-Bibliothek
(Choral Library). Mass;
Renaissance/early
Baroque. Choral score. 28
pages. Breitkopf and
Haertel #ChB 3145-02.
Published by Breitkopf
and Haertel
(BR.CHB-3145-02).
ISBN
9790004403501. 7.5 x 10.5
inches.
Palestrina'
s Missa Paternoster is
one of the masses by this
composer that were
published neither during
his lifetime nor after
his death. The work has
come down to us in one
single manuscript source
from the collections of
the Cappella Sistina in
Rome, a copy transcribed
by D. Brancadore in
1618.The mass is written
on motifs from the
ancient plainchant Pater
noster melody from the
mass liturgy, which
underlays the movements
in an admirable
multiplicity of melodic
forms. New counterpoints
are repeatedly
intertwined with the
themes of the title
melody over the course of
the mass. Certain
idiosyncrasies in the
voice-leading and the
austere sonorities that
recall the late
Netherlandish tradition
give rise to the
hypothesis that this is a
relatively early work of
Palestrina.Several
decades ago, the Missa
Paternoster was published
by Breitkopf & Hartel in
a performance edition
prepared by Hermann
Bauerle. The present
edition is based on the
copy of the work printed
in the Choirbook 68
(Cappella Sistina) of the
Biblioteca Vaticana in
Rome. The poor condition
of the source made it
necessary to compare it
with Haberl's Complete
Edition as weil, after
which two errors have to
be corrected. Our edition
cannot pretend to offer a
definitive reading of the
accidentals, since they
are difficult to
distinguish in the
original. The work was
transposed, as this
seemed more appropriate
to present-day choral
practice. Finally, the
note values were reduced
by a half and the closing
notes reproduced
uniforrnly as longae.
Palestrina's Missa
,,Pater noster occupies a
distinguished position
next to its better known,
four-part fellow works.
lt deserves this rank
thanks to its dignified
and broadly sweeping
themes, the archaic
loftiness of its sound,
and the wealth of motivic
work contained within it.
We sincerely hope that
this new edition will
stimulate choirs to turn
their attention once
again to this rarely sung
mass by the great Roman
master.Rudolf
Ewerhart,January 1962,
Munster (Westf.).
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by Cliff
Eisen. Stapled.
Orchester-Bibliothek
(Orchestral Library).
Urtext braves negligently
notated autograph.
Symphony; Classical.
Part. 8 pages. Duration
29'. Breitkopf and
Haertel #OB 5296-27.
Published by Breitkopf
and Haertel
(BR.OB-5296-27).
ISBN
9790004340561. 10 x 12.5
inches.
Mozart's
late E flat major
Symphony was written in
1788, presumably for
subscription concerts
that ultimately did not
take place. The new
edition is based on the
sole extant authentic
source, the autograph
from the Biblioteka
Jagiellonska in Krakow.
Unfortunately, the
manuscript was notated
negligently and faultily,
which forced the editor
to make frequent
decisions about whether
Mozart did or did not
intend different
articulations at many
passages. Cliff Eisen's
editorial competence was
a major asset
here.
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by Cliff
Eisen. Stapled.
Orchester-Bibliothek
(Orchestral Library).
Urtext braves negligently
notated autograph.
Symphony; Classical.
Part. 12 pages. Duration
29'. Breitkopf and
Haertel #OB 5296-15.
Published by Breitkopf
and Haertel
(BR.OB-5296-15).
ISBN
9790004340523. 10 x 12.5
inches.
Mozart's
late E flat major
Symphony was written in
1788, presumably for
subscription concerts
that ultimately did not
take place. The new
edition is based on the
sole extant authentic
source, the autograph
from the Biblioteka
Jagiellonska in Krakow.
Unfortunately, the
manuscript was notated
negligently and faultily,
which forced the editor
to make frequent
decisions about whether
Mozart did or did not
intend different
articulations at many
passages. Cliff Eisen's
editorial competence was
a major asset
here.
Chorus with inst. (choir: SATB - org - glsp or trg(ad lib) - str(without va)) (+)
Chorus with inst. (choir:
SATB - org - glsp or
trg(ad lib) - str(without
va))
SKU:
BR.CHB-3566-02
Pastorella.
Composed by Jiri Ignaz
Linek. Edited by Diethard
Hellmann. Choir; stapled.
Chor-Bibliothek (Choral
Library). Baroque period.
Choral score. 4 pages.
Duration 4'. Breitkopf
and Haertel #ChB 3566-02.
Published by Breitkopf
and Haertel
(BR.CHB-3566-02).
ISBN
9790004404942. 7.5 x 10.5
inches.
Die
Veroffentlichung der
Weihnachts-Pastorella
erfolgt nach den alten
Stimmen, die das
Nationalmuseum in Prag
unter der Signatur XII A
148 aufbewahrt.Der
Bibliothek sei an dieser
Stelle fur die
Anfertigung der
Photokopien herzlichst
Dank gesagt. Der
Originaltext ist in
tschechischer Sprache
abgefasst, dessen Anfang
lautet ,,Narodil se
Kristus Pan; das alte,
tschechische
Weihnachtslied gleichen
Textanfangs ist in der
Komposition verarbeitet.
In Deutschland ist dieser
Weihnachtsgesang mit dem
Text ,,Freu dich, Erd und
Sternenzelt bekannt und
weit verbreitet.Die
wortliche Ubersetzung,
die der gereimten Version
dieser Ausgabe als
Unterlage diente,
erstellte
dankenswerterweise Herr
Peter Geeringer,
Frankfurt/Main; sie hat
folgenden
Wortlaut:,,Christus, der
Herr, ist geboren, freut
euch, der Rose ist eine
Blute entsprossen, freut
euch. Eia, also freuen
wir uns alle miteinander,
durch Christi Geburt
werden wir alle
getrostet. Freuen wir
uns, feiern wir diesen
Geburtstag, lasst uns
wohlklingende Musik
machen! - Michel, wo hast
du deinen Dudelsack?
Saume nicht, geh ihn
holen! lgnaz, sei auch
bereit, hole schnell den
Dudelsack! Ruft gleich
den Tobias, er soll nicht
zaudern und sein
Instrument nehmen und
sogleich mit euch kommen!
Michel, lgnaz und Tobias,
seid ihr da? - Christus,
der Herr, ist geboren,
freut euch, der Rose ist
eine Blute entsprossen,
freut euch. Eia, also
freuen wir uns alle
miteinander, lasst uns
zusammen zur Krippe
gehen, lasst uns diesen
Geburtstag feiern, auf
dem Dudelsack lasst uns
spielen! Dem kleinen
Jesulein erweisen wir
Ehre, Lob und Preis.Die
vorliegende
Veroffentlichung teilt
die Lesart der alten
Stimmen mit. Zusatzliche,
analoge Bogensetzungen
sind durch Strichelungen,
originale Angaben zur
Dynamik durch
Ausschreibung als solche
kenntlich gemacht.
Harpsichord; Organ; Early Music SKU: UT.AS-6 Vol. 6. Critical Edition<...(+)
Harpsichord; Organ; Early
Music
SKU: UT.AS-6
Vol. 6. Critical
Edition. Composed by
Alessandro Scarlatti.
Edited by Andrea
Macinanti and Francesco
Tasini. Paperback (Soft
Cover). Alessandro
Scarlatti - Complete
Works for Keyboard.
Classical. Ut Orpheus #AS
6. Published by Ut
Orpheus (UT.AS-6).
ISBN 9790215320109. 9
x 12
inches.
Toccate,
Fughe e composizioni
varie (Napoli, Biblioteca
del Conservatorio <>, Ms.
46.1.29; Montecassino,
Biblioteca dell'Abbazia,
Ms. 126 D. 3; altre fonti
(Berlino, Firenze,
Londra, Roma,
Vienna))
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by Cliff
Eisen. Folder.
Orchester-Bibliothek
(Orchestral Library).
Urtext braves negligently
notated autograph.
Symphony; Classical. Set
of parts. 68 pages.
Duration 29'. Breitkopf
and Haertel #OB 5296-30.
Published by Breitkopf
and Haertel
(BR.OB-5296-30).
ISBN
9790004340578. 10 x 12.5
inches.
Mozart's
late E flat major
Symphony was written in
1788, presumably for
subscription concerts
that ultimately did not
take place. The new
edition is based on the
sole extant authentic
source, the autograph
from the Biblioteka
Jagiellonska in Krakow.
Unfortunately, the
manuscript was notated
negligently and faultily,
which forced the editor
to make frequent
decisions about whether
Mozart did or did not
intend different
articulations at many
passages. Cliff Eisen's
editorial competence was
a major asset
here.
Trumpet and orchestra SKU: BR.MR-2239B Set of parts. Composed by G...(+)
Trumpet and orchestra
SKU: BR.MR-2239B
Set of parts.
Composed by Giacomo
Antonio Perti. Edited by
Keith Wright and Mark
Latham. Orchestra;
stapled. Musica Rara.
Symphony; Baroque. Score
and parts. 28 pages.
Breitkopf and Haertel #MR
2239b. Published by
Breitkopf and Haertel
(BR.MR-2239B).
ISBN
9790004488478. 9 x 12
inches.
There are
two known manuscript
sources for the present
edition of this sinfonia
avanti l'opera. In the
Dean and Chapter Library
of Durham Cathedral it
appears as the twelfth,
and last, piece in a
collection of late
seventeenth-century
Italian instrumental
music. No composer is
given and identification
was only possible
following the discovery,
in 1993, of a concordant
source in the Biblioteca
Estense, Modena, where
the work appears as the
sinfonia to Perti's opera
L'Inganno scoperto per
Vendetta, first performed
in Venice as part of the
1690/1 season.It is
sometimes hard to
ascertain the original
functional purpose behind
many of the trumpet works
written by composers of
the Bolognese school as
it would appear that some
were used as sonate da
chiesa, to celebrate mass
in the basilica of San
Petronio, Bologna, whilst
also serving as operatic
sinfonie. To confuse the
issue further, there are
several instances of
composers 'borrowing'
each other's works: for
example, it has recently
been discovered that the
Torelli trumpet sinfonia
a 4 catalogued as G4 in
Giegling was used as the
overture to Perti's opera
Nerone fatto Cesare
(1693). So far as the
present edition is
concerned, however,
stylistic considerations
would appear to confirm
that the work is indeed
by Perti and that it was
originally conceived as
the overture to L'Inganno
scoperto per Vendetta. A
couple of clues hint at a
secular raison d'etre:
the Durham source is
marked Serenatto
(presumably a corruption
of serenata, a term often
used in lieu of sinfonia)
and the last movement of
the Modena source is
marked Menuet, a term
more often associated
with sonate da camera
than with works of
ecclesiastical
provenance.Both the
Modena and Durham sources
for the present edition
are virtually
note-perfect and
occasional inaccuracies
were easily corrected by
comparing the sources
with each other and with
the part-books in Durham.
Whilst the Modena source
lacks the second violin
part in the outer
movements it contains
fuller dynamic markings
and tempi indications
than the Durham source
and these have been
followed in the present
edition with no editorial
additions. Notation has
been modernised and, in
the piano reduction
edition, right-hand
arpeggio-figurations
rendered more pianistic.
Parts are provided for
trumpet in D and B flat.
I am grateful to the Dean
and Chapter of Durham and
to the Biblioteca
Estense, Modena, for
providing microfilm of
the manuscripts. I should
also record my thanks to
Keith Wright for
realising the
figured-bass which
appears in the full-score
edition.Mark Latham,
Brancepeth Castle, June
1997.
Chorus with inst. (choir: SATB - org - glsp or trg(ad lib) - str(without va)) (+)
Chorus with inst. (choir:
SATB - org - glsp or
trg(ad lib) - str(without
va))
SKU:
BR.PB-4843
Pastorella.
Composed by Jiri Ignaz
Linek. Edited by Diethard
Hellmann. Choir;
Softcover.
Partitur-Bibliothek
(Score Library). Baroque
period. Full score. 8
pages. Duration 4'.
Breitkopf and Haertel #PB
4843. Published by
Breitkopf and Haertel
(BR.PB-4843).
ISBN
9790004206423. 9 x 12
inches.
Die
Veroffentlichung der
Weihnachts-Pastorella
erfolgt nach den alten
Stimmen, die das
Nationalmuseum in Prag
unter der Signatur XII A
148 aufbewahrt.Der
Bibliothek sei an dieser
Stelle fur die
Anfertigung der
Photokopien herzlichst
Dank gesagt. Der
Originaltext ist in
tschechischer Sprache
abgefasst, dessen Anfang
lautet ,,Narodil se
Kristus Pan; das alte,
tschechische
Weihnachtslied gleichen
Textanfangs ist in der
Komposition verarbeitet.
In Deutschland ist dieser
Weihnachtsgesang mit dem
Text ,,Freu dich, Erd und
Sternenzelt bekannt und
weit verbreitet.Die
wortliche Ubersetzung,
die der gereimten Version
dieser Ausgabe als
Unterlage diente,
erstellte
dankenswerterweise Herr
Peter Geeringer,
Frankfurt/Main; sie hat
folgenden
Wortlaut:,,Christus, der
Herr, ist geboren, freut
euch, der Rose ist eine
Blute entsprossen, freut
euch. Eia, also freuen
wir uns alle miteinander,
durch Christi Geburt
werden wir alle
getrostet. Freuen wir
uns, feiern wir diesen
Geburtstag, lasst uns
wohlklingende Musik
machen! - Michel, wo hast
du deinen Dudelsack?
Saume nicht, geh ihn
holen! lgnaz, sei auch
bereit, hole schnell den
Dudelsack! Ruft gleich
den Tobias, er soll nicht
zaudern und sein
Instrument nehmen und
sogleich mit euch kommen!
Michel, lgnaz und Tobias,
seid ihr da? - Christus,
der Herr, ist geboren,
freut euch, der Rose ist
eine Blute entsprossen,
freut euch. Eia, also
freuen wir uns alle
miteinander, lasst uns
zusammen zur Krippe
gehen, lasst uns diesen
Geburtstag feiern, auf
dem Dudelsack lasst uns
spielen! Dem kleinen
Jesulein erweisen wir
Ehre, Lob und Preis.Die
vorliegende
Veroffentlichung teilt
die Lesart der alten
Stimmen mit. Zusatzliche,
analoge Bogensetzungen
sind durch Strichelungen,
originale Angaben zur
Dynamik durch
Ausschreibung als solche
kenntlich gemacht.
Chorus a cappella SKU: BR.CHB-3069-02 Urtext. Composed by Giovanni...(+)
Chorus a cappella
SKU:
BR.CHB-3069-02
Urtext. Composed
by Giovanni Pierl da
Palestrina. Edited by
Rudolf Ewerhart. Choir;
stapled. Chor-Bibliothek
(Choral Library). Mass;
Renaissance/early
Baroque. Choral score. 32
pages. Breitkopf and
Haertel #ChB 3069-02.
Published by Breitkopf
and Haertel
(BR.CHB-3069-02).
ISBN
9790004403099. 7.5 x 10.5
inches.
Palestrinas
Missa ,,Dies
sanctificatus steht in
den ,,Missae ... Liber
Sextus, dem sechsten
Messenbuch, das 1594 in
Rom erstmals gedruckt
wurde. Die sechs Messen
dieses Druckes sind dem
kunstliebenden Kardinal
Pietro Aldobrandini
gewidmet, dem Neffen des
Papstes Clemens VIII.Als
Modell fur diese Messe
diente Palestrina seine
gleichnamige,
vierstimmige
Weihnachtsmotette, welche
er im Jahre 1563 in den
,,Motecta festorum anni
hatte veroffentlichen
lassen. Die Themen dieser
Motette bestimmen das
melodische und
harmonische Gefuge der
Messe: fast alle
Satzanfange sind vom
Initialthema der Motette
gespeist, und der
jubelnde Dreiertakt des
,,Exultemus et laetemur
beschliesst Gloria und
Credo sowie das
funfstimmige Agnus Dei,
das nach Palestrinas
Gewohnheit einen Kanon
durchfuhrt, hier im
Intervall der Oberquart
zwischen Tenor und Alt
2.Bereits vor mehreren
Jahrzehnten war die Missa
,,Dies sanctificatus in
einer praktischen Ausgabe
von Hermann Bauerle im
Verlag Breitkopf & Harte!
veroffentlicht worden.
Unsere Ausgabe geht auf
den Druck von 1594
zuruck, der in den
Exemplaren des Liceo
Musicale in Bologna
(Cantus) und der
Proske-Bibliothek in
Regensburg (Altus, Tenor,
Bassus) vorlag. Durch die
Transposition des
hochgeschlusselten Satzes
wird die Ausfuhrung durch
einen gemischten Chor
moglich. Die Notenwerte
wurden auf die Halfte
gekurzt; der Dreiertakt
ist im Originaldruck
durch Schwarzung
angezeigt. Einige
Druckfehler, so der
Schluss des Alt im Credo,
wurden verbessert. Die
schwungvolle, von der
freudigen Grundstimmung
der Weihnachtsmotette
inspirierte Messe zahlt
zu den Werken des
romischen Meisters, die
auch fur verhaltnismassig
einfache Chorverhaltnisse
erreichbar, in der Praxis
aber weniger bekannt
sind. Unsere Neuausgabe,
die das Original in einer
moglichst getreuen Form
ohne Zusatze bietet,
mochte dieser Messe in
weiteren Kreisen Freunde
gewinnen.Rudolf Ewerhart,
im Dezember 1959, Munster
(Westf.).
Trumpet, piano SKU: BR.MR-2239A Piano reduction. Composed by Giaco...(+)
Trumpet, piano
SKU:
BR.MR-2239A
Piano
reduction. Composed
by Giacomo Antonio Perti.
Edited by Mark Latham.
Arranged by Mark Latham.
Solo instruments;
Softcover. Musica Rara.
Symphony; Baroque. Piano
reduction. 8 pages.
Breitkopf and Haertel #MR
2239a. Published by
Breitkopf and Haertel
(BR.MR-2239A).
ISBN
9790004487877. 9 x 12
inches.
There are
two known manuscript
sources for the present
edition of this sinfonia
avanti l'opera. In the
Dean and Chapter Library
of Durham Cathedral it
appears as the twelfth,
and last, piece in a
collection of late
seventeenth-century
Italian instrumental
music. No composer is
given and identification
was only possible
following the discovery,
in 1993, of a concordant
source in the Biblioteca
Estense, Modena, where
the work appears as the
sinfonia to Perti's opera
L'Inganno scoperto per
Vendetta, first performed
in Venice as part of the
1690/1 season.It is
sometimes hard to
ascertain the original
functional purpose behind
many of the trumpet works
written by composers of
the Bolognese school as
it would appear that some
were used as sonate da
chiesa, to celebrate mass
in the basilica of San
Petronio, Bologna, whilst
also serving as operatic
sinfonie. To confuse the
issue further, there are
several instances of
composers 'borrowing'
each other's works: for
example, it has recently
been discovered that the
Torelli trumpet sinfonia
a 4 catalogued as G4 in
Giegling was used as the
overture to Perti's opera
Nerone fatto Cesare
(1693). So far as the
present edition is
concerned, however,
stylistic considerations
would appear to confirm
that the work is indeed
by Perti and that it was
originally conceived as
the overture to L'Inganno
scoperto per Vendetta. A
couple of clues hint at a
secular raison d'etre:
the Durham source is
marked Serenatto
(presumably a corruption
of serenata, a term often
used in lieu of sinfonia)
and the last movement of
the Modena source is
marked Menuet, a term
more often associated
with sonate da camera
than with works of
ecclesiastical
provenance.Both the
Modena and Durham sources
for the present edition
are virtually
note-perfect and
occasional inaccuracies
were easily corrected by
comparing the sources
with each other and with
the part-books in Durham.
Whilst the Modena source
lacks the second violin
part in the outer
movements it contains
fuller dynamic markings
and tempi indications
than the Durham source
and these have been
followed in the present
edition with no editorial
additions. Notation has
been modernised and, in
the piano reduction
edition, right-hand
arpeggio-figurations
rendered more pianistic.
Parts are provided for
trumpet in D and B flat.
I am grateful to the Dean
and Chapter of Durham and
to the Biblioteca
Estense, Modena, for
providing microfilm of
the manuscripts. I should
also record my thanks to
Keith Wright for
realising the
figured-bass which
appears in the full-score
edition.Mark Latham,
Brancepeth Castle, June
1997.
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by Cliff
Eisen. Stapled.
Orchester-Bibliothek
(Orchestral Library).
Urtext braves negligently
notated autograph.
Symphony; Classical.
Part. 12 pages. Duration
29'. Breitkopf and
Haertel #OB 5296-16.
Published by Breitkopf
and Haertel
(BR.OB-5296-16).
ISBN
9790004340530. 10 x 12.5
inches.
Mozart's
late E flat major
Symphony was written in
1788, presumably for
subscription concerts
that ultimately did not
take place. The new
edition is based on the
sole extant authentic
source, the autograph
from the Biblioteka
Jagiellonska in Krakow.
Unfortunately, the
manuscript was notated
negligently and faultily,
which forced the editor
to make frequent
decisions about whether
Mozart did or did not
intend different
articulations at many
passages. Cliff Eisen's
editorial competence was
a major asset
here.